THE  LIBRARY 

OF 

THE  UNIVERSITY 

OF  CALIFORNIA 

IRVINE 

GIFT  OF 


MR.    J.    L.    PETERSON 


Oliver  Cromwell 

Green  Levant— inlays  of  red  and  black  leather. 
Decorative  tooling  in  gold. 


Bib-li-op-e-gis-tic 

(Pertaining   to    the   art    of    binding    books.— I3i  bijin) 

to   which   is   appended 

a  glossary  of  some 

terms  used  in 

the  craft 


JVith  Illustrations  of 

Bindings  Designed  and   Executed  by 

The  Trow  Press,  New  York 


Bihliopc'i^istic 

THE  cnitl  of  the  bookbinder  is  older  than 
tluit  ot"  the  printer.  Qiiotin*^  f'roin  Mr. 
Brjiiider  Mattliews: 

"  Perhaps  the  first  bookbinder  was  the  luinible 
workman  who  eollected  the  baked  ehiy  tiles  on 
whieh  the  Assyrians  wrote  their  hiws;  and  he  was 
a  bookbinder  also  who  prepared  a  protecting  cyl- 
inder to  guard  tlie  scrolls  ot"  pa})yrus  on  which 
Vergil,  and  Horace,  and  Martial  had  written  their 
verses.' 

Modern  art  in  l)()()kbinding  })egan  in  Italy  in 
the  fit'teenth  century.  The  invention  of  printing 
had  so  nudtiplied  books  that  the  work  got  out  of 
the  hands  of  the  monks,  and  workmen  from  other 
trades  were  pressed  into  service,  bringing  with 
them  their  skill  in  working  leather,  as  well  as  their 
tools,  and  designs  wliich  they  had  previously  used 
to  decorate  their  work. 

At  this  time  the  libraries  were  shelves,  so 
inclined,  as  to  allow  of  the  books  lying  on  tiicir 
sides,  inviting  their  decoration.  At  first  the  em- 
bellishment was  suggested  or  influenced  by  the 
work  in  the  volume,  and  very  often  there  would  be 

3 


Cai-ols   V.   (Tei-ichtM)i(liiiin<^  ( 1597) 
Vine  colored  Levant — inlays  of  red  and  jrreen  leather. 
bands  and  decoration  tooled  in  gold. 

4 


Interlacing 


found  on  the  cover,  repetition  of  the  typoirraphic 
ornanients  used  by  the  printer. 

Hut  with  the  nssociutions  and  influence  of  tiie 
other  decorative  arts,  there  came  the  use  of  inter- 
lacing bands, scrolls,  and  geometric  designs,  followed 
by  copies  of  patterns  and  parts  of  designs  from 
laces,  embroideries,  pottery  and  ironwork  of  the 
times.  And  with  the  broadening  in  the  ideas  of 
decoration,  came  the  use  of  inlays  of  leather  of 
harmonizing  colors,  and  even  of  precious  stones. 

While  the  art  was  developing  in  Italy,  largely 
under  French  patronage,  it  was  also  beginning  to 
flourish  in  France,  where  later  it  reached  its  su- 
premacy. So  nmch  so  that  up  to  the  nineteenth 
century  it  was  "  France  first  and  the  rest  nowhere." 

In  no  work  more  than  in  binding  have  the 
French  shown  their  fine  artistic  taste,  and  in  the 
famous  collections  of  the  world  the  choicest  speci- 
mens are  by  French  binders  of  the  sixteenth  to 
the  eighteenth  centuries. 

France  to-day  has  many  binders  of  great  skill 
and  good  taste,  })ut  no  longer  holds  the  supremacy 
of  the  earlier  days.  England  has  developed  some 
craftsmen  of  great  skill  and  original  artistic  feeling, 
even  though  their  best  eflbrts  are  many  times  but 
reproductions  of  older  models. 

Barely  fifty  years  ago  ^America  did  not  have  a 
binder  capable  of  covering  a  volume  to  compare 

5 


witli  the  work  of  tlie  artisans  of  France  or  even 
England,  liut  in  tliat  time  there  have  developed 
shops  where  work  of  such  merit  is  done  that  it  is 
now  no  longer  necessary  to  send  one's  precious 
tomes  abroad  to  be  properly  clothed. 

The  true  book  lover  as  well  as  the  collector 
desires  for  his  treasures  a  suitable  binding,  and 
there  is  to-day  an  increasing  demand  for  fine  bind- 
insf  on  individual  volumes  as  well  as  on  sets. 

This  demand  is  not  satisfied  with  "  commercial 
binding"  and  is  too  intelligent  to  accept  extrav- 
agant work,  extravagant  in  over-decoration  as  well 
as   in  price. 

Tlie  art  of  bookbinding  is  now  so  widely 
known  and  the  taste  and  judgment  of  the  public 
so  thoroughly  educated  by  the  efforts  of  the  Grolier 
Club  and  similar  associations  that  good  work  and 
good  material  arc  ap])rcciated,  geiuiine  and  suitable 
decoration  recognized  and  the  best  results  obtained 
in  the  combination  of  an  intelligent  customer  and 
a  skilled  and  artistic  workman. 


The   IJook   of  the  Presidents 

Maroon  Levant — "arms"  (TifTany  &  Co.  design)  inlaid  in  colored 
leather.     Plain  mitred  panels,  tooled  in  gold. 


The  Book   of  the   Presidents — Double 
Levant— national  colors.     Tooled  in  gold. 


The  Trow  Bindery 

THE  production  of  fine  bindings  is  not  ;i  new 
departure  witli  us,  but  luis  been  carried  on 
for  many  years  in  wliat  has  been  aptiv  de- 
scribed as,  a  "quality"  department  of  a  "quantity" 
business,  where  fine  work  can  be  executed  at  prices 
that  are  not  prohibitive. 

It  is  under  tlie  direction  of  a  skilled  craftsman, 
and  the  workmen  are  encourat>ed  to  excel  in  care- 
ful and  conscientious  work. 

Our  endeavor  is  to  produce  books  which  are 
not  surpassed  for  defiance,  elasticity,  and  dura- 
bility— the  three  great  requisites  of  a  well  bound 
book. 

With  technical  knowledge  to  aid  us  in  the 
selection  of  the  best  materials,  and  excellent  tools, 
we  strive  for  that  result  which  is  described  as 
"flawless  material  faultlessly  treated." 

The  decoration,  if  any,  is  designed  in  complete 
harmony  with  the  text,  and  where  warranted,  we 
call  to  our  aid  the  foremost  decorative  designers 
and  artists  of  the  day. 

The  older  models  are  followed  where  original 
designs  are  not  required:    and  where  simplicity  is 

9 


"'■'"%  :f  ■  I j#»':: .■■•":■■■:;: 'i*^'''-m#:i^«f 


■>jh, 


No.    1.       WIIUM 


No.  2.     Linen 


No.  3.     Buckram 

Samples  of  specially  designed   "  Marbled "  cloths 
For  sides  and  lininffs  of  half,  three-quarter  or  full  leather  bindings 


10 


desired,  we  hold  to  the  behef  in  "the  undeooratcd 
surface  of  flawless  material,"  bearing  in  mind  the 
sobriety  of  treatment,  but  careful  execution  wliicli 
distinguishes  the  best  work  of  the  past. 

AS  a  new  departure  we  are  showing  the  use 
of  specially  designed  cloths  for  sides  and 
linings,  in  })lace  of  the  German  marbled 
papers  and  French  "  combs,"  the  most  of  which  as 
Miss  Prideaux  says  "produce  the  effect  of  violent 
color  thrown  on  wet  blotting  paper." 

Used  as  sides  on  half  or  thrce-(juarter  leather 
styles,  the  cloth  gives  greater  durability,  as  the 
surface  does  not  rub,  nor  will  the  edges  wear  off 
where  turned  over,  as  happens  with  the  use  of 
marbled  papers. 

As  linings  they  obviate  the  use  of  the  extra 
cloth  joint,  which  is  unsightly,  l)ut  necessary  for 
strength  with  the  use  of  marbled  paper ;  witii 
their  use  the  folded  edge  is  pasted  in  the  joint, 
allowing  the  cover  to  be  lifted  without  drawing  the 
end  papers  away  from  the  book. 

Good  taste,  and  harmony  of  color  are  assured 
by  their  wide  variety,  and  in  addition  some  new 
and  novel  effects  may  sometimes  be  secured. 


11 


The   Ilistoiic    Iliulson — Doubk' 
Green  Levant.      Pictorial  inlay  anil  decoration  tooled  in  gold. 

U 


The  Scope  of  our  Work 

WE  solicit  the  binding  of  a  single  volume, 
in   any    manner,  whether    it    be   in   half, 
tin-ee-quarter,  or  full  leather,  with  simple 
or  elaborate  treatment. 

We  will  undertake  the  binding  of  a  complete 
collection  or  library  and  will  submit  quotations 
w'here  desired,  or  proceed  under  an  appropriation 
by  the  customer. 

We  will  carefully  attend  to  special  instructions 
for  the  extending,  interleaving  or  rebinding  of 
extra  illustrated  work,  presentation  copies,  memorial 
editions,  etc. 

We  also  undertake  the  repairing  of  any  bind- 
ings, carefully  and  skillfully  mending  any  torn 
leaves,  and  properly  guarding  any  loose  sheets  or 
inserts. 


13 


Memorial  \'()lumc — Double 
Royal  Purple  Levant.     Floral  design  inlaid  and  hand  colored. 


14 


Glossary  of  Terms 

Azured.  Onianientatioii  outliiud  in  i^old  and  crossotl  with 
horizontal  Hncs. 

Bands.  (1)  The  cord  whereon  the  sheets  of  a  volume  are 
sewn.  (2)  Tlie  ridges  on  the  back  caused  by  the  bands  rais- 
ing the  leather.  Head  Band.  A  knitting  of  silk  or  tln-ead 
worked  in  at  the  head  and  foot  of  the  slielf  back  of  the  book. 
Boards.  A  temporary  binding  with  a  cover  made  of  boards 
and  paper.  Mill  Boards.  Tlie  boards  that  are  attached  to 
the  book,  giving  stiffening  to  the  cover. 

Bosses.  Brass  or  other  metal  piece.s  attached  to  the  covers 
of  a  book,  for  ornamentation  or  protection. 
Burnish.  Tlie  gloss  produced  by  tlie  ajiplication  of  the 
burnisher  to  the  edges  after  coloring,  marbling  or  gilding. 
Collating.  Examining  the  signatures,  after  a  volume  has 
been  folded  and  gathered,  to  ascertain  if  they  be  in  correct 
sequence. 

Dentelle.  A  style  resembling  lace  work,  linished  with  very 
finely  cut  tools. 

DouhU.  When  the  inside  of  the  cover  is  lined  witli  leather, 
it  is  termed  a  double. 

End  Papers  or  Lining  Papers.  The  papers,  plain  or  fancy, 
placed  at  each  end  of  the  volume  and  pasted  down  upon 
the  boards. 

Fillet.  A  cylindrical  tool  used  in  finishing,  upon  wjiich 
a  line  or  lines  are  engraved. 

Finishing.      Comprises  tooling,  lettering,  polishing,  etc. 
Flexible.      A  book   sewn   on    raised    bands,  with    the    thread 
passed    entirely  around   each    bap.d,    allowing    the   book    to 
open   freely. 

15 


Iti 


Fore  edge.      The   front  nli^c  of  fhr   Icavos. 

Foriondhig.  CompriM-s  all  f  lie  opi  rat  imis  bctwrrn  propai-- 
iii<^  and  finishing,  including  the  t'onninj;  and  tiinuniii^  of 
tlic  hooks,  and  tlit'  rovoiin^  of  I  lie  boards. 

(idiifre  Edges.  Impressions  made  with  the  linisher's  tools 
on  the  edges  of  the  book  after  gilding. 

(iouge.      A  finishing  tool  foiining  the  segment  of  a  circle. 

Guards.  Strips  of  paper  inserted  in  the  backs  of  }>ook.s, 
upon  which  inserts  are  mounted,  intended  to  prevent  the 
books  being  uneven  in  thickness  when  filled. 

hdai/wg.  (1)  Extending  "extra"  illustrations  by  inserting 
them  in  leaves  to  correspond  to  the  si/e  of  a  book.  (2)  A 
style  of  Mosaic  work  made  by  the  insertion  of  vaii  colored 
leathers  or  otiier  material  on  the  cover  or  double. 

Kettle-Stitch.  A  catch-stitch  formed  in  sewing  at  the  head 
and  foot. 

Lachig-In.  Lacing  the  bands  on  which  the  hook  is  sewn 
through  holes  in  the  l)oards  to  attach  them. 

Limp.  A  cover  without  hoards  or  othei'  stiff'  materials, 
allowing  the  sides  to  be  pliable. 

Marbling.  A  method  of  coloring  the  edges  or  enrl  papers 
in  various  patterns,  obtained  by  floating  colors  on  a  gum 
solution. 

Mitred.  'J'ooled  lines  meeting  at  a  right  angle  without 
overrunning. 

Morocco.  A  fine  kind  of  grained  leathir  prepared  from 
goatskin.  Levant  Morocco:  The  skin  of  the  monarch  breed 
of  goat ;  a  large  grained  Morocco. 

Overcmting.  Oversewing  the  back  edges  of  single  leaves  of 
weak  sections;  also  called  whipstitching  or  whi|)ping. 

Pointille.     The  dotted  style  of  Le  (Gascon. 

IT 


Prtjxirin^.      Coinpiisiii^  all  the  prt'liiniiiaiv  opiiations  up  to 

"  forwarding,"   including    folding,  gathering,  collating,   and 

sewing. 

Register.      When   tlie  printing  on  one   side   of  a  leaf  falls 

exactly  over  that  on  the  other  it  is  said  to  "  register." 

lioUs.      Cvlindiical  ornamental  tools  used  in  finishing. 

Saiiing-in.     \Vhen  grooves  are  made  in  the  back  with  a  saw 

to  receive  the  bands. 

Semis.      A  diaper  design  made  up  of  the  repetition  of  one  or 

more  small  tools. 

S'liT'iature.      Each  foldid  sheet  or  section  of  a  book. 

Sqiiore.s.      The   jiortion  of  the  covers  projecting  beyond   the 

edges  of  the  book. 

Tall  Copy.     So  called  when  the  book   has  not  been  reduced 

in  size  by  trimming,  with  the  leaves  entirely  imcut. 

Tooling.      Impressing  the  design  oy  pattern  in  gold  leaf,  with 

finishing  tools,  by  hand.      Blind   Tooling.     The   impression 

of  finishing  tools  without  gold  leaf. 


Specimen  decorative  backs  for  half  or  full  Irather  bindings. 
Edition  work  or  single  volumes. 


18 


Interpretation  of  Styles 

A  L  D I  N  K    OR    ITALIA  \ 

Ornamfiits  of  solid  faiv  without  any  shading  wliatever,  such 
as  used  by  Akhis  and  other  early  Italian  j)rintcrs.  The 
ornaments  are  of  Arabic  character.  A  style  appropriatr  foi- 
early  printed  literature. 

G  HOLIER 

An  interlaced  framework  of  geometrical  fi<rures — circles, 
squares,  and  diamonds — with  scrollwork  I'umiinjr  throu<;h  ir, 
the  ornaments  which  are  of  Moresque  character,  generallv 
azured  in  whole  or  in  part,  sometimes  in  outline  onlv.  Paits 
of  the  design  are  often  studded  with  gold  dots.  'I'ime,  first 
half  of  the  16th  century. 

MAIOLI 

A  style  prior  to  and  contem[)orarv  with  the  earlv  (Italian) 
examples  of  the  Grolier.  Generally  comj^osed  of  a  fi-amework 
of  shields  or  medallions,  with  a  design  of  scrollwork  Howing 
through  it.  Portions  of  the  design  are  usually  studded  with 
gold  dots.      Ornaments  are  of  Mores(jue  character, 

k\K 

A  framework  of  yarious  geometrical-shaped  c()inj)artments 
linked  together  by  interlaced  circles ;  the  centers  of  the 
compartments  are  filled  with  small  floral  ornaments,  and  the 
irregular  spaces  surrounding  them,  with  circular  scrolls  and 
branches  of  laurel  and  palm.  An  elaborate  style  used  at 
the  end  of  the  16th  and  beginning  of  the  17th  century. 

MOSAIC 

A  design  inlaid  with  difl'erent  colors.  The  coyer  may  be 
of  any  shade,  but  the  style  is  especially  eflictive  when  the 
cover  is  of  \yhite  yellum  in  imitation  of  illuminated 
manuscripts. 

19 


I.E    r.  ASCOX 

'I'lic  (li^tiiinuisliinir  featmv  of  this  stvk'  is  the  dotted  face  of 
thf  ornaments  instead  of  the  eontimioiis  or  solid  Hne.  In 
vogue  the  first  half  of  tiie  17th  century,  iiuniediattly  suc- 
ceeding the  ])eriod  of  Nicholas  and  Clovis  Kvc. 

nKKOM  K 

Tiiis  style  has  ornaments  of  a  leafy  character,  with  a  more 
solid  face,  though  lightly  shaded  by  the  graver  and  is  best 
exemplified  in  borders.  The  ornaments  are  often  styled 
Kcnaissance,  beinir  an  entire  chanfje  from  the  (iascon. 
'I'ime,  18th  century. 

KOCKR    I'.WXE 

The  ornaments  of  this  style  are  easily  identified,  Ijeing  free 
and  flowing  in  stem  and  Hower;  whereas  before  Payne's  time 
they  had  been  stiff  and  formal.  The  honeysuckle  is  a  cus- 
tomary ornament.  The  impressions  of  the  tools  are  usually 
studded  round  with  gold  dots,  whether  used  in  borders, 
corners,  or  center  pieces. 
.1  A  N'  s  i--.  N 

Without  line  or  ornament  either  in  blank  or  gold.  It 
j)ermits  decoration  on  the  inside  of  the  cover,  but  demands 
absolute  j)laiiniess  on  the  outside,  with  the  exception  of 
lettering.  It  is  only  a])pro})riate  for  crushed  levant,  being 
dependent  for  its  beauty  on  the  polished  surface  of  the 
leather.  It  takes  its  name  from  the  followers  of  Jansenius, 
Bishop  of  Vpri's,  who  were  advocates  of  plainness  in  worship. 


20 


Trow  Directory,   Printinrr  and  Rookhiiuliiiff  Company 

201-213  East  12th  Street 

New  York  City 


UC  'AnilHi  wfj  iji ,  H.I 


AA    000  607  066    h 


